DOCSLIB.ORG

Bodiford Final Document Update

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bodiford Final Document Update EVOLUTION OF CONTEMPORARY COLLEGE WIND BAND REPERTOIRE AND PROGRAMMING IN THE UNITED STATES: 1800-2010 by KENNETH G. BODIFORD KENNETH OZZELLO, COMMITTEE CHAIR MARVIN JOHNSON JOANNA BIERMANN JOHN RATLEDGE JONATHAN NOFFSINGER STEVE SHEPARD DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Department of Music in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2012 Copyright Kenneth G. Bodiford 2012 ALL RIGHTS RESERVED ABSTRACT The wind band has come to be regarded as a premier and distinct performance ensemble, particularly as represented by college and university ensembles. Although the wind band has a military heritage and was, during the first half of the twentieth century, largely conceived of as entertainment, it has evolved to its present status as a unique vehicle worthy of attention by recognized composers. This research was designed to provide an historical perspective on the evolution of contemporary college wind band repertoire in the United States with particular focus on the nineteenth and twentieth centuries and extending through the first decade of the twenty-first century. The evolution of wind band/ensemble repertoire in the United States was traced from predominantly orchestral transcriptions to the contemporary era in which wind band compositions are sometimes transcribed for orchestra. Instrumentation was studied from an historical perspective as it related to development of repertoire. The evolution of repertoire comprised the major portion of the research. ii DEDICATION This document is dedicated in loving memory of my beloved mother and father, Mrs. Ruby Jewel Glenn Bodiford and Mr. Hubert Walton Bodiford. No one could ask for more loving and supporting parents. It is impossible to thank them adequately for everything they’ve done, from loving me unconditionally to raising me in a stable household, where they instilled traditional values and taught their children to celebrate and embrace life. I could not have asked for better parents or role models. iii ACKNOWLEDGMENTS I wish to thank the members of my committee, including my Major Professor, Dr. Kenneth Ozzello, Director of Bands at The University of Alabama, for supporting the ideas that resulted in the culmination of this project. I would also like to recognize and thank Dr. Ozzello; Mr. Randall Coleman, Assistant Director of Bands at The University of Alabama; and Mr. Steve Simpson, Assistant Director of Athletic Bands at The University of Alabama for their kindness and support while I completed my residency at the university. They made the experience of working on the doctorate degree most pleasant and one that I will always remember. Also, I would like to thank Dr. David L. Walters and Dr. Hoyt LeCroy (my first readers) for their tremendous support and guidance throughout the process of completing this document. As well, special thanks to my colleagues at Jacksonville State University Mr. Clint Gillespie and Mr. Jeremy Stovall, the Assistant Directors of the University Band program, and Ms. Sandy Lynch, secretary of the University Band program, for their support especially while I was away on sabbatical working on the degree. Last but not least, thank you to my sisters and brother: Sharon Cherry, Paula Herrin, and Hugh Bodiford. Your support, love, and encouragement have always been more than words can express. You had to do without me on several family occasions while I was busy with career obligations. I thank you so much for being so loving and understanding. iv CONTENTS ABSTRACT ....................................................................................................................... ii DEDICATION .................................................................................................................. iii ACKNOWLEDGMENTS ............................................................................................... iv 1. INTRODUCTION ........................................................................................................ 1 a. Purpose of the Research ........................................................................................ 1 b. Research Design ....................................................................................................... 1 c. Literature Review ..................................................................................................... 2 2. HISTORICAL DEVELOPMENT OF WIND BAND INSTRUMENTATION IN THE UNITED STATES ............................................... 3 a. Eighteenth Century .................................................................................................. 3 b. Early Nineteenth Century ..................................................................................... 4 c. Patrick Sarsfield Gilmore ...................................................................................... 6 d. John Philip Sousa ...................................................................................................... 8 e. The Rise of Music Education ............................................................................. 10 3. HISTORICAL DEVELOPMENT OF WIND BAND REPERTOIRE IN THE UNITED STATES ......................................................................................... 14 a. Nineteenth Century .............................................................................................. 14 b. Early Twentieth Century ................................................................................... 16 c. Literature for School Bands .............................................................................. 19 d. World War II Era ................................................................................................... 22 e. The Commissioning Process ............................................................................. 28 v f. Literature for Wind Ensembles ........................................................................ 35 g. 1970s-1980s ............................................................................................................ 41 h. 1990s .......................................................................................................................... 46 e. The Twenty-first Century .................................................................................. 53 4. SUSTAINABILITY OF WIND BAND REPERTOIRE……………………...….71 a. Joseph Schwantner …………………………………………………………………….72 b. Frank Ticheli ........................................................................................................... 77 c. John Corigliano ....................................................................................................... 81 5. CURRENT STATE ................................................................................................... 87 a. Idiomatic Properties of Wind Instruments as Related to Repertoire Development ................................................................................................................ 87 b. Orchestras Play Wind Works ........................................................................... 92 c. Interviews with Current Composers ............................................................. 93 i. Composer Rob Grice .............................................................................................. 94 ii. Composer Brian Balmages ................................................................................ 96 iii. Composer Robert Sheldon ............................................................................... 99 6. CONCLUSION ........................................................................................................ 101 REFERENCES ............................................................................................................. 107 vi LIST OF TABLES 1. Bethlehem Band Instrumentation .................................................................... 5 2. Sousa’s Band Instrumentation ........................................................................... 8 3. 1950 Original Works Part One ...…….………………………….………………..26 4. 1950 Transcriptions Part Two ........................................................................ 27 5. Commissions Awarded 1949-1960 ………………...…….………………….…28 6. ABA Composition Award Winners ................................................................ 29 7. 1950s Pi Kappa Omicron Commissions ………………………………………30 8. 1952 United States Military Academy Band Commission ................... 32 9. 1953 Kappa Kappa Psi and Tau Beta Sigma Commission ................... 32 10. 1960s National Band Association Commissions ................................. 33 11. 1960s-1970s Wind Band / Ensemble Composers ............................... 39 12. 1970s-1980s First Time Wind Band / Ensemble Composers ..............41 13. 1970s-1980s Established Wind Band / Ensemble Composers ............42 14. 1990s Wind Band / Ensemble Composers ...........................................48 15. Wind Band / Ensemble Composers 1995-2000 ...................................50 16. Wind Band / Ensemble Composers 2000-2001 ...................................55 17. Wind Band / Ensemble Composers 2002-2003 ...................................57 18. Wind Band / Ensemble Music 2004-2005 ...........................................61 19. Wind Band / Ensemble Works 2006-2007 ..........................................64 20. Wind Band / Ensemble Music 2008-2010 ...........................................67 vii LIST OF FIGURES
Load more

Recommended publications
  • Production Database Updated As of 25Nov2020
    American Composers Orchestra Works Performed Workshopped from 1977-2020 firstname middlename lastname Date eventype venue work title suffix premiere commission year written Michael Abene 4/25/04 Concert LGCH Improv ACO 2004 Muhal Richard Abrams 1/6/00 Concert JOESP Piano Improv Earshot-JCOI 19 Muhal Richard Abrams 1/6/00 Concert JOESP Duet for Violin & Piano Earshot-JCOI 19 Muhal Richard Abrams 1/6/00 Concert JOESP Duet for Double Bass & Piano Earshot-JCOI 19 Muhal Richard Abrams 1/9/00 Concert CH Tomorrow's Song, as Yesterday Sings Today World 2000 Ricardo Lorenz Abreu 12/4/94 Concert CH Concierto para orquesta U.S. 1900 John Adams 4/25/83 Concert TULLY Shaker Loops World 1978 John Adams 1/11/87 Concert CH Chairman Dances, The New York ACO-Goelet 1985 John Adams 1/28/90 Concert CH Short Ride in a Fast Machine Albany Symphony 1986 John Adams 12/5/93 Concert CH El Dorado New York Fromm 1991 John Adams 5/17/94 Concert CH Tromba Lontana strings; 3 perc; hp; 2hn; 2tbn; saxophone1900 quartet John Adams 10/8/03 Concert CH Christian Zeal and Activity ACO 1973 John Adams 4/27/07 Concert CH The Wound-Dresser 1988 John Adams 4/27/07 Concert CH My Father Knew Charles Ives ACO 2003 John Adams 4/27/07 Concert CH Violin Concerto 1993 John Luther Adams 10/15/10 Concert ZANKL The Light Within World 2010 Victor Adan 10/16/11 Concert MILLR Tractus World 0 Judah Adashi 10/23/15 Concert ZANKL Sestina World 2015 Julia Adolphe 6/3/14 Reading FISHE Dark Sand, Sifting Light 2014 Kati Agocs 2/20/09 Concert ZANKL Pearls World 2008 Kati Agocs 2/22/09 Concert IHOUS
    [Show full text]
  • The Belo Herald Newsletter of the Col
    The Belo Herald Newsletter of the Col. A. H. Belo Camp #49 And Journal of Unreconstructed Confederate Thought August 2016 This month’s meeting features a special presentation: Old Bill – Confederate Ally And Open table discussion of National Reunion The Belo Herald is an interactive newsletter. Click on the links to take you directly to additional internet resources. Col. A. H Belo Camp #49 Commander - David Hendricks st 1 Lt. Cmdr. - James Henderson nd 2 Lt. Cmdr. – Charles Heard Adjutant - Jim Echols Chaplain - Rev. Jerry Brown Editor - Nathan Bedford Forrest Contact us: WWW.BELOCAMP.COM http://www.facebook.com/BeloCamp49 Texas Division: http://www.scvtexas.org Have you paid your dues?? National: www.scv.org http://1800mydixie.com/ Come early (6:30pm), eat, fellowship with http://www.youtube.com/user/SCVORG Commander in Chief on Twitter at CiC@CiCSCV other members, learn your history! Our Next Meeting: Thursday, August 4th: 7:00 pm La Madeleine Restaurant 3906 Lemmon Ave near Oak Lawn, Dallas, TX *we meet in the private meeting room. All meetings are open to the public and guests are welcome. "Everyone should do all in his power to collect and disseminate the truth, in the hope that it may find a place in history and descend to posterity." Gen. Robert E. Lee, CSA Dec. 3rd 1865 Commander’s Report Dear BELO Compatriots, Greetings. Hope to see each of you this Thursday the 4th at la Madeleine for the dinner hour from 6:00 – 7:00p.m. and our meeting starting at 7:01p.m. The national convention is now behind us.
    [Show full text]
  • The Kansas Red Legs: the Dark Underbelly of the Civil War in Missouri
    The Kansas Red Legs: the Dark Underbelly of the Civil War in Missouri Good Afternoon, Ladies and Gentlemen! Today, I’ll be talking to you about the Kansas Red Legs and the Dark Underbelly of the Civil War in Missouri. My discussion, I hope, will give you nsights into why Quantrill’s guerrillas came so far east during the Civil War and were involved in the execution of soldiers at the train station in Centralia. They also fought a major battle where we now stand and annihilated Major A. V. E Johnston’s Companies A, G, and H of the Thirty-Ninth Missouri Regiment. It’s important to emphasize to you that the Civil War in Missouri, as it relates to the Missouri guerrillas and the Union Army, was characterized, on both sides by what the U.S. Army today calls “Total War.” This meant, in Civil War days, that if a Union soldier captured a Missouri guerrilla, the guerrilla was executed, usually on the spot or soon thereafter. Union soldiers were dealt with in like manner. The Union Army started this no quarter policy of killing guerrillas in 1861, and the Missouri guerrillas quickly reciprocated that practice. You should view the massacre in Centralia and the destruction of the Union Army on this battlefield where we stand from this Total War, Black Flag, no quarter perspective in order to understand it. For instance, if the guerrillas in Quantrill’s force had been surrounded and captured in the battle of Centralia, instead of A.V.E. Johnston’s companies, 1 then, they would have been summarily executed afterward.
    [Show full text]
  • Program Notes
    GIL ROSE, ARTISTIC DIRECTOR ORCHESTRAL SERIES COLGRASS KUBIK SHAPERO STUCKY BMOP2016 | 2017 JORDAN HALL AT NEW ENGLAND CONSERVATORY coming up next: The Picture of Dorian Gray friday, november 18 — 8pm IN COLLABORATION WITH ODYSSEY OPERA American Masters “Pleasures secret and subtle, wild joys and wilder sins…” SATURDAY OCTOBER 8, 2016 8:00 BMOP and Odyssey Opera bring to life Lowell Liebermann’s operatic version of Oscar Wilde’s classic horror novel in a semi-staged production. Glass Works saturday, february 18 — 8pm CELEBRATING THE ARTISTRY OF PHILIP GLASS BMOP salutes the influential minimalist pioneer with a performance of his Symphony No. 2 and other works, plus the winner of the annual BMOP-NEC Composition Competition. Boston Accent friday, march 31 — 8pm sunday, april 2 — 3pm [amherst college] Four distinctive composers, Bostonians and ex-Bostonians, represent the richness of our city’s musical life. Featuring David Sanford’s Black Noise; John Harbison’s Double Concerto for violin, cello, and orchestra; Eric Sawyer’s Fantasy Concerto: Concord Conversations, and Ronald Perera’s The Saints. As the Spirit Moves saturday, april 22 — 8pm [sanders theatre] FEATURING THE HARVARD CHORUSES, ANDREW CLARK, DIRECTOR Two profound works from either side of the ocean share common themes of struggle and transcendence: Trevor Weston’s Griot Legacies and Michael Tippett’s A Child of Our Time. BOSTON MODERN ORCHESTRA PROJECT | 781.324.0396 | BMOP.org American Masters SATURDAY OCTOBER 8, 2016 8:00 JORDAN HALL AT NEW ENGLAND CONSERVATORY Pre-concert talk by Robert Kirzinger at 7:00 MICHAEL COLGRASS The Schubert Birds (1989) GAIL KUBIK Symphony Concertante (1952) I.
    [Show full text]
  • October 2013
    Wichita Stamp Club Newsletter Vol. 81, No. 10, October 2013 “Go Fly A Stamp” Neal E. Danielson Editor Click on a link below in order to go directly to the article Don’t Sweat the Small Stuff A cutie Mailed from Mound City, Kansas Travel Kansas A brief philatelic visit to Hoyt, Kansas Mary Reynolds Hazelbaker The first US woman rural mail carrier Now that’s interesting A most curious postcard picturing some unusual cows! Go to WSC Home Page DON’T SWEAT THE SMALL STUFF by Neal E. Danielson This is the 49th in a series of articles relating to small post cards and small covers so if you have any in your collection that you would like to share please let us know. This Small Stuff (Figure 1) comes to you by way of Mound City, Linn County, Kansas through Ralph Lott. This Small Stuff measures 4 ½ inch X 2 inch. The Small Cover is addressed to a Mis Sarah Bouma in Lewistown, Fulton Co., Ill and is franked with a 3¢ Locomotive stamp (Scott #114) and postmarked from Mound City Kan. on Dec. 1 sometime after 1869. Figure 1-Small Stuff Mound City, Kansas Figure 2-Linn Co. Railroad Map ca 1899 Figure 3-Linn County Located slightly southeast of the center of Linn County (Figure 2 & 3) Mound City became the County Seat. The village was initially given the name ‘Sugar Mound’ due to the location of a mound by that name, just east of the village. The Post Office was established on March 15, 1855 in Sugar Mound and Dr.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1965-1966
    TANGLEWOOD Festival of Contemporary American Music August 14, 15, 16, 17, 18, 1966 Sponsored by the Berkshire Music Center In Cooperation with the Fromm Music Foundation I " STMVINSKY tt.VlOW agon vam 7/re Boston Symphony SCHULLER 7 STUDIES ox THEMES of PAUL KLEE BOSTON SYMPHONY ORCHESTRA/ERICH lEINSDORf under Leinsdorf Leinsdorf expresses with great power the vivid colors of Schuller's Seven Studies on Themes of Paul Kiee and, in the same album, Stravinsky's ballet music from Agon. Forthe majorsinging roles in Menotti's dramatic cantata, The Death of the Bishop of Brindisi. Leinsdorf astutely selected George London, and Lili Chookasian, of whom the Chicago Daily Tribune has written, "Her voice has the Boston symphony ecich teinsooof / luminous tonal sheath that makes listening luxurious. menotti Also hear Chookasian in this same album, in songs from the death op the Bishop op BRSndlSI Schbnberg's Gurre-Lieder. In Dynagroove sound. Qeonoe ionoon • tilt choolusun s<:b6notec,/ou*«*--l(eoeo. sooq of the wooo-6ove ac^acm rca Victor fa @ The most trusted name in sound ^V V BERKSHIRE MUSIC CENTER ERICH LeinsDORF, Director Joseph Silverstein, Chairman of the Faculty Aaron Copland, Chairman of the Faculty Emeritus Louis Speyer, Assistant Director Victor Babin, Chairman of the Tanglewood Institute Harry J. Kraut, Administrator FESTIVAL of CONTEMPORARY AMERICAN MUSIC presented in cooperation with THE FROMM MUSIC FOUNDATION Paul Fromm, President Alexander Schneider, Associate Director FELLOWSHIP PROGRAM Contemporary Music Activities Gunther Schuller, Head Roger Sessions, George Rochberg, and Donald Martino, Guest Teachers Paul Zukofsky, Fromm Teaching Fellow James Whitaker, Chief Coordinator Viola C Aliferis, Assistant Administrator The Berkshire Music Center is maintained for advanced study in music sponsored by the BOSTON SYMPHONY ORCHESTRA Erich Leinsdorf, Music Director Thomas D.
    [Show full text]
  • ABSTRACT Title of Dissertation: COMPOSITIONS for FLUTE BY
    ABSTRACT Title of Dissertation: COMPOSITIONS FOR FLUTE BY AMERICAN STUDENTS OF NADIA BOULANGER Jessica Guinn Dunnavant, Doctor of Musical Arts, 2004 Dissertation directed by: Professor William Montgomery School of Music Throughout the twen tieth century, young American composers made a pilgrimage across the Atlantic Ocean to study their craft with Nadia Boulanger (1887- 1979). Many of them wrote substantial, interesting works for flute, and this dissertation focuses on performances of a selection of those compositions. Boulanger’s life is well documented, as is her reputation for helping her students find their own musical voices. In this project she serves as a lens through which three generations of American composers may be viewed. This to pic brings together a wide variety of flute music in almost every style imaginable. A selection of music to perform was made because the amount of music far exceeds the amount of available performance time. A list of Nadia Boulanger’s American students was primarily derived from the website nadiaboulanger.org and from composers listed in the two editions of the New Grove Dictionary of Music and Musicians. These lists are far from comprehensive and other notable flute composers have been added. The followin g is an alphabetical list of the works that were performed: Alexander’s Monody, Amlin’s Sonata , Bassett’s Illuminations, Berlinski’s Sonata , Carter’s Scrivo in Vento , Cooper’s Sonata , Copland’s Duo, Dahl’s Variations on a Swedish Folktune, Diamond’s Sonata , Erb’s Music for Mother Bear, Finney’s Two Ballades , Glass’s Serenade, Kraft’s A Single Voice , La Montaine’s Sonata , Lewis’s Monophony I, Mekeel’s The Shape of Silence , Piston’s Sonata , Pasatieri’s Sonata , Rorem’s Mountain Song, and Thomson’s Sonata .
    [Show full text]
  • KANSAS HISTORY an “Idea of Things in Kansas”
    76 KANSAS HISTORY An “Idea of Things in Kansas” John Brown’s 1857 New England Speech edited by Karl Gridley n early January 1857, following his well-publicized year of guerrilla warfare waged on behalf of the free- state cause in eastern Kansas, John Brown embarked on a whirlwind speaking and fund-raising tour throughout New England. Brown, through the constant field reporting of James Redpath and William Phillips in Horace Greeley’s New York Tribune and Richard Hinton in the Boston Traveller, had become something of a celebrity in Boston and New York, even to the point of having a Broadway play produced Iabout his exploits.1 Born May 9, 1800, in Torrington, Connecticut, John Brown grew up in Hudson, Ohio, and the Western Re- serve. As a young man he worked in Ohio and Pennsylvania as a tanner and wool broker. He married twice and fathered twenty children. By the 1830s Brown, a devout Calvinist, became increasingly involved in the aboli- tionist movement, becoming friends with men such as Gerrit Smith and Frederick Douglass. In the late 1840s he moved to North Elba in upstate New York to farm and assist former slave families living in the area. By 1855 five of Brown’s sons had moved from drouth-stricken Ohio to Kansas to settle near Osawatomie. They wrote their father often of the troubles in the area resulting from the struggle over whether Kansas would enter the Union as a free or slave state. John Brown Jr. wrote his father that they needed arms “more than we do bread.” Soon John Brown joined his sons at Brown’s Station, Kansas.
    [Show full text]
  • The Abolitionists of the Liberator Circle, 1860-1863
    Certainty, Crisis, Compromise: The Abolitionists of the Liberator Circle, 1860-1863 A thesis submitted in partial fulfilment of the requirements for the Degree of Master of Arts in History in the University of Canterbury By Luis Paterson University of Canterbury 2017 1 Contents Acknowledgements .................................................................................................... 3 Abstract ...................................................................................................................... 4 Introduction ................................................................................................................ 5 Frontispiece: The Liberator Circle ............................................................................ 12 Historiography .......................................................................................................... 14 Chapter One: Certainty ............................................................................................ 35 Chapter Two: Crisis .................................................................................................. 65 Chapter Three: Compromise .................................................................................. 110 Conclusion ............................................................................................................. 157 Bibliography ........................................................................................................... 160 2 Acknowledgements I would like to thank Peter Field for his
    [Show full text]
  • August Bondi Excerpts from the Autobiography of August Bondi
    August Bondi Excerpts from the Autobiography of August Bondi (1833–1907)* CHAPTER I FAMILY HISTORY ORIGIN OF THE NAME There is a family tradition that sometime toward the close of the seventeenth or the early part of the eighteenth century, one Jomtov Landschreiber, a rural scrivener, whose business it was to keep up the census of the Jewish communities scattered through Bohemia, outside of Prague, and report the assessment of taxes subject to review by the respective authorities; when urged to adopt a Christian name and to Germanize it, adopted the name of “Bondy.” He had traveled in Italy and “become somewhat acquainted with the Italian language, so he changed the Hebrew word, “Jomtov,” (good-day) for the Italian word, “Bondi,” (good-day) and Germanized it by changing the letter “i” into “y,” making the name “Bondy” and all the Bondi and Bondy families in the world are descended from that Jomtov Landschreiber. There are in the United States many families “Bundy;” they are descendants of a Huguenot settler, near Vincennes, Indiana, about the eighteenth century. ANCESTORS Of the descendants of Jomtov Landschreiber history is silent until we come to one Herz Emanuel Mendel Bondi or Bondy, a wealthy merchant of Prague, Bohemia, and his wife, Judith (nee Lämel), parents of seven children—two daughters and five sons. Of these sons, the youngest, Herz Emanuel Naphtali Bondy, was my father. CHANGE OF NAME My father’s family name was originally “Bondy.” In his first citizen’s papers he changed it to Bondi. *Autobiograpy of August Bondi (1833-1907): Published by His Sons and Daughters for Its Preservation (Galesburg, Illinois: Wagoner Printing Company, 1910).
    [Show full text]
  • PULITZER PRIZE WINNERS in LETTERS © by Larry James
    PULITZER PRIZE WINNERS IN LETTERS © by Larry James Gianakos Fiction 1917 no award *1918 Ernest Poole, His Family (Macmillan Co.; 320 pgs.; bound in blue cloth boards, gilt stamped on front cover and spine; full [embracing front panel, spine, and back panel] jacket illustration depicting New York City buildings by E. C.Caswell); published May 16, 1917; $1.50; three copies, two with the stunning dust jacket, now almost exotic in its rarity, with the front flap reading: “Just as THE HARBOR was the story of a constantly changing life out upon the fringe of the city, along its wharves, among its ships, so the story of Roger Gale’s family pictures the growth of a generation out of the embers of the old in the ceaselessly changing heart of New York. How Roger’s three daughters grew into the maturity of their several lives, each one so different, Mr. Poole tells with strong and compelling beauty, touching with deep, whole-hearted conviction some of the most vital problems of our modern way of living!the home, motherhood, children, the school; all of them seen through the realization, which Roger’s dying wife made clear to him, that whatever life may bring, ‘we will live on in our children’s lives.’ The old Gale house down-town is a little fragment of a past generation existing somehow beneath the towering apartments and office-buildings of the altered city. Roger will be remembered when other figures in modern literature have been forgotten, gazing out of his window at the lights of some near-by dwelling lifting high above his home, thinking
    [Show full text]
  • 1 the Descendants of William Robblee And
    The Descendants of William Robblee and Keturah Baker of Lanesborough, MA Compiled by Cindy Walcott <cwalcott141 at gmail.com> Fall 2018 William Robblee and his wife Keturah Baker apparently started their married life in Dutchess Co., NY. William bought land in Lanesborough, MA in 1768. Presumably, the couple moved there – across the line from New York to Massahusetts – about that time. Their younger children were born there. William died at age 60, when several of his children were still minors. Keturah stayed in Lanesborough for some time. However, the majority of her living children joined the northward migration of Lanesborough families to New Haven, VT by the 1790s. Later, she would join them, and marry the Quaker Stephen Haight. Some of Keturah’s family of origin were also Quaker; perhaps she practiced this religion as well. One of her sons, William (although he may have lived briefly in New Haven) stayed in Lanesborough. He used the spelling Rubblee for his surname. However, those in Vermont adopted the spelling Rublee. Her daughters remained in New Haven. However, her sons soon continued their move northward, settling in Berkshire, VT. Some stayed there; others moved to Quebec, New York, Wisconsin and beyond. William Rubblee’s descendants removed to Ellington, NY where many have remained to this day. Most individuals with the surname Rublee belong to this family. But there is an exception. There is a Rublee family on Wisconsin that is descended from Even Knudson Ruble and his wife Birgit Olsdatter Onsgard, both born in Norway. Even was the son of Khud Evensen Hoyme and Seborg Haagensdatter.
    [Show full text]